Benton and Rural America

The Controversy of Giotto and Francis

The Annunciation

At The Window

The Triumphant Jesus Forgiving Penitent Sinners

Voorhines on Picasso

I was able to find an article by James Voorhines, in which he shares with his readers the evolution of such a credited artist; Pablo Picasso. The author refers to Pablo Picasso as an artistic genius at the opening of the article. He goes on to discuss Picasso’s impact on the world of art, and attributes development in the area to him. Throughout the article, the author praises Picasso on his works. Though he proclaims that he may prefer a certain style to the other, he does not speak poorly of any of Picasso’s eras of work. He seems to be fascinated with the different collaborations Picasso has had with other artists.

Picasso moved on to work on art that would be considered more pleasant by observers. Context clues tell us that the author too found this era more attractive. He excitedly gives in detail description of the vibrancy of the circus performers inspired work;this lead to styles of Cubism in which Pablo Picasso is widely remembered for.

Although world renowned, and famous, Cubism didn’t sick around long. Picasso went back to painting more traditionally after WWI. The sparked the Neoclassical Period. From this section of the reading, I gathered that the author seems impressed with the way Picasso’s versatility in that he is able to transition from one style of art to another. The author goes on to talk about many later forms of art contributed by Picasso, and in closure he pays tribute to the artist’s attributions to the arts.

"Unsettled"

Pablo Picasso: Blue Period

Pablo Picasso's Phallic Symbol: the Ace of Clubs

In his long and varied career, Pablo Picasso experimented with numerous symbols and motifs, some of which spanned his entire art career, others which appeared for only a short few years. One motif, which is limited to the second decade of the twentieth century, is the ace of clubs. It first appeared in Picasso's work in 1911, and last appeared in 1920. The greatest number of works containing the ace of clubs was produced in the years 1913 and 1914. Although other artists such as Georges Braque and Juan Gris also painted the ace of clubs in their still life paintings, Picasso's stands out much more because it rarely appears with other playing cards, and Picasso only once included cards without the ace of clubs being present as well. Given Picasso's liking for creating paintings with deep meaning, we should not be surprised to find that even something so harmless as a particular playing card may have special importance. In the article, “The Phallic Club: The Iconography and Symbology of Pablo Picasso's Ace”, the author examines the symbolic elements of the works that include the ace of clubs and Picasso's personal relationships at the time shows that this card, for Picasso, was phallic, an image of the male reproductive organ, symbolizing the male generative power in nature, and how it differs from other artists’ use of the ace of clubs.

Several scholars have recognized that Picasso's still-lifes are metaphors for sexuality. One scholar, for example, wrote that the paintings from the 1920s "bear out Picasso's characterization of his work as a diary, an ongoing record of his life, fantasies, and loves." As the article explains, Picasso’s ace of clubs idea of the 1910s reflects his own love life. Francoise Gilot. one of Picasso's later lovers, connected the still-lifes with objects of desire, she said, "..things that are the means by which we obtain temporary relief, intoxication, or ecstasy; food, alcohol, tobacco, or musical instruments." The presence of cards, she explained, was probably a reference to the Cardplayers (1890) by the great precursor of Cubism, a style of painting and sculpture developed in the early 20thcentury, characterized chiefly by an emphasis on formal structure,the reduction of natural forms to their geometrical equivalents,and the organization of the planes of a represented object independently of representational requirements, Paul Cézanne. However, this does not explain why the ace of clubs appears in all but one of Picasso's works that contain playing cards or why none of Cezanne's versions includes the ace. Out of the fifty-seven paintings, collages, and constructions in which the ace of clubs appears, only eleven include other cards, and in only five of those they face up. The only exception is Picasso's Still life "QUI" (1912) which includes only a four of clubs.

Although the ace of clubs was Picasso's card of choice, its coinciding presence in the work of other artists suggests that the symbolic representation he assigned to it was coincidental. Also, in Picasso's first three works in which it appears, all of which are paintings, it is present with other cards: the ace of hearts, a six and four of diamonds, and an ace of spades. According to the article, many of the objects Picasso added to his paintings, like musical instruments, cards, dice, wine, cigarettes, pipes, wine glasses, and fragmented words, call for scenes of play and light hearted enjoyment. The incorporation of these other cards suggests that at first Picasso wanted to refer to the notion of play. While other artists continued using playing cards in their works, Picasso's focus on the ace of clubs indicates that he moved beyond the simple association of play.

The evidence suggests that Picasso, consciously or otherwise, used the ace of clubs as a symbol of his own sexual dominance. The actual club, as depicted in the Spanish deck, is a weapon. Spears, knives, guns, clubs, and other weapons have been historically and artistically associated with men and male sexuality. For example, the attribute of Hercules is a large club. Italian noblemen of the Renaissance ensured that their sword hilts were prominently displayed in their portraits to express their political and sexual potency. Throughout mythology and literature, weapons have symbolized the virile strength of men and the might of rulers and gods. They represent a man's ability to protect his family and his ability to produce one. This is especially relevant during this period of war; Picasso took a symbol of militaristic dominance and infused it with sexual associations. As a playing card, the weapon-club is different; described as phallus, it is sexualized. In Picasso's late work there is a prevalence of swords, muskets, pipes, and paint brushes, which are all consciously phallic. Thus, painting, love making, and creation become one. As a phallic symbol, Picasso's ace of clubs vaguely resembles a penis and testicles and it frequently points either up as if erect, or toward traditional female or maternal symbols. Of the fifty-seven works that include the ace of dubs, only seven exclude traditionally female or maternal symbols, like vessels (glasses, bottles, and vases).

Picasso sometimes paired the ace of clubs with the guitar, his "favored metaphor for a woman... with its sound hole or 'trou' as her conspicuously available genitals," in Ma Jolie (1914), the ace of clubs is quite close to and pointing at the opening of the guitar, under the banner, "Ma Jolie." The words "Ma Jolie" included in the work were Picasso's reference to Eva, his new lover. Others say that it also refer to Fernande Olivier, who was still with Picasso when the work was executed. Therefore, the work was a first song to Eva and a final one to Fernande, since he was seeing both at the time.

The use of Picasso’s ace of clubs is different than the use of it by any other artist. His use of the motif shows a correlation to the sexual dominance in how own life. Picasso's introduction of the ace of clubs into his art is significant in its correlation with his own biography, with his relationships with Fernande Oliver, Eva Gouel, Olga Keklova, and Marie-Thérèse Walter, along with other events of the period. This correlation fits perfectly the statement that Gilot made about him: "Picasso thought about his canvases as being the different pages of an autobiography. The artist himself is always present within his creation." The ace, creates allusions to Picasso himself.

Did Healthier Dieting Provide a Happier Lifestyle?

Healthy Diets for a Happy Lifestyle

O'Keeffe: More Than a Woman

As a whole, women artists have always fallen short to their male counterparts. Despite being regarded as a prominent American female artist, Georgia O’Keeffe’s works have been criticized throughout her lifetime and even after her death. Sexist art critics realize O’Keeffe’s significance in the art world, but nonetheless critique her paintings’ elements and form.  As a female, the idea of women’s inferiority to men is unmistakable. In the article, “Sexist Art Criticism: Georgia O'Keeffe-a Case Study,” the author uses various sources to demonstrate the claim that sexual criticism has persistently demeaned the work of O’Keeffe. Those who pay special attention to and value artwork may find this particularly offensive.

According to one such art critic, much of O’Keeffe’s early work has shown a womanly preoccupation with sex. For example, her flower enlargement paintings were referred to as “an uneasy selection of phallic symbols.” Her flower paintings, as stated by Samuel Kootz, represent O’Keeffe primarily as a woman and not as an artist, because they exhibit the female sexual anatomy. In her best efforts, O’Keeffe painted the flowers to illuminate their realistic detailing and characteristics, not to portray sexual imagery. How can a simple painting be transformed to such a sexist debate? It all begins with the ideas of other artists and art critics. Georgia O’Keeffe’s paintings are world renowned, and not only show a woman’s strength, but also shows the strength of one individual to convey such expression and perfection.

The article further describes O’Keeffe as the “spokesman” for emotional women.  Confining O’Keeffe to her life as a woman, critics state that her paintings reflect a woman’s nature and her utter belief in womanhood. That is, her works suggest no traces of intellect or profound feelings. This claim demonstrates the stereotypical idea that men are held to a higher standard than women. Society suggests this notion in many aspects, but the professional world should be one of equality. O’Keeffe’s paintings show great intellect and are extremely meticulous. How many male artists pay attention to small details and paint with such pristineness, so that their viewers can get a real sense of the objects?

Clearly, female artists are continuously fighting an uphill battle against sexism. As explored through Georgia O’Keeffe’s works, critics have found fault in her style and attribute it to her gender. However, in most instances it seems certain that O’Keeffe’s work is merely a reflection of her own taste and does not correlate with any form of sexism. In actuality, Georgia O’Keeffe’s works merely symbolize her love for art and nature’s beauty through her paintings of flowers, landscapes, and cultural objects.

Understanding O'Keeffe

Takashi Murakami

Pablo Picasso Voice Thread

Blurring the Line Between Commercial and Traditional Art

Commercial art, often overlooked as actual art, can be seen everywhere. Whether it is product placement in movies/shows, billboards, or album covers, commercial art proves to be the key to improving sales of a product. The article “Takashi Murakami – Murakami Versailles”, by Jina Valentine, discusses Murakami’s work and how it has blurred the line between commercial and traditional art. Such confusion of the separation worries artists and those trying to keep the two completely separate. Much of his work identifies as having inappropriate patterns that come in conflict with traditional art, specifically with the era of Louis XIV, by manipulating minor details.

Murakami agreed with the Art Asian Pacific that his art sometimes gave the notion of a party crasher, but he also argued that his work gave meaning to many old paintings that marble statues could and cannot give. An example of this can be seen in the Oval Buddha Silver, where a five-foot tall silver figure by Murakami stands dead center in one of Salon de l'Abondance’s paintings. The statue seems out of place with the majestic trims and frescoed ceiling type parts within the painting. But to Murakami, the statue is an entrance into a new style and meaning of art; one that uses both traditional and modern aspects integrated together. Tongari, an eight-meter statue positioned at the center of a lotus flower stands in front of Apothese d’Hercule (Apotheosis of Hercules). The meaning and interpretation of this positioning is up to the viewer. Some think Tongari either represents as being banned from heaven or sent there as a representative. These are just two examples given by Valentine that introduce a new figure into a traditional painting, changing the meaning of the piece.

Takashi Murakami’s most famous character is Mr. DoB, which can be altered by changing its colors and facial expressions into millions of variations. Mr. DOB can be seen in many of Murakami’s works; in several pieces his signature character is used as the statue in more traditional pieces, causing commotion of whether he has degraded the traditional piece or enriched it. Mr. DOB is usually a two-dimensional animal like character with big ears. Looking at traditional pieces with Mr. DOB centered in the middle confuses many viewers, but Murakami believes placing such an out of the ordinary figure enhances each piece, giving it a completely new meaning and interpretation. Mr. DoB gives a sense of modernism and antiqueness to art.

Because of Murakami’s adverse work, exhibitions of his work in France have been banned. Some traditionalist groups believe such patterns within traditional pieces are an insult to the art of Louis’s era. But Valentine states that Takashi Murakami’s work generates a lot of intrigue through the use of the 17th and 18th century eccentric line effects, making art merge into “unnatural environments”. Traditional art fills much of the art world and it is time to create new pieces that no one has done before. Many of his pieces, however, are said to have balance between object and setting as well as coldness and warmth at the same time. Balance and setting is crucial when placing figures in unnatural environments. The coldness comes from the modern mass-production of his characters, while the warmth comes from the “obscene cuteness” and “semblance to ubiquitous, mass-produced toys” which remind us of childhood memories. Takashi Murakami’s work has created up stir, but it is time that other artists become more creative and begin creating pieces that cause people to ask questions and be captivated at first sight.

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Indulging in Fatty Foods Won't Lead to Happiness for Long

Adolescence is a time of rapid physical, psychological, and social development. While developing, they need to be informed of healthy eating habits that will stick with them for the rest of their lives. Unfortunately, this period frequently comes with the onset of psychiatric illness; three-quarters of lifetime psychiatric disorders will first emerge in adolescence or early adulthood. Recent data suggests diet and nutrition is a reoccurring factor in pathophysiological depressive illness. There have been experiences demonstrated to show the inverse associations between habitual diet quality and the likelihood of clinically determined depressive and anxiety disorders.

A study completed by The Healthy Neighborhoods included a 14-item dietary questionnaire which included questions about what people ate for breakfast, the different types of beverages they drank, and takeaway food consumed. The questionnaire was designed to assess dietary patterns associated with positive energy balance and food behaviors and measures the intake of key foods that are indicative of less/more healthy food choices. Based on Dietary Guidelines for Children and Adolescents in Australia, a healthy diet score was constructed from answers to four dietary items. Participants were given a point for each of the following: breakfast every day before school; low fat dairy food at least once per day; at least two serves of fruit per day; and at least four serves of vegetables per day. An unhealthy diet score was derived from the sum of answers to the following four questions: consumption of hamburgers, hot dogs or sausages, potato chips or fatty snacks, doughnuts, cake, pie, chocolate and other sweets, and sweet drinks such as sodas, plus a question regarding the frequency of takeaway foods. The range for the final score was zero to four, which was subsequently recoded as categories 1, which was an unhealthy diet to 5, a healthy diet.

Depression was measured utilizing the Short Mood and Feelings Questionnaire (SMFQ), which was created to use in studies of depression for children and adolescents. The SMFQ comprises 13 items relating to mood states, has high internal consistency, and correlates with other well-validated measures based on a depression scale. Effect modification by age or gender was also assessed. Results show correlations between both healthy and unhealthy dietary scores and covariates. A higher healthy diet score was associated with: younger age; more physical activity, less smoking, higher paternal and maternal education, higher paternal employment status, lower risk of family conflict and poor family management; and a higher dieting score. In contrast, an unhealthy diet was associated with: a lower dieting score, less physical activity, greater family conflict and poor family management, smoking, lower parental employment and education status, a lower BMI. This shows how the negative stands with the negative, and positive stands with the positive.  The inverse relationship of healthy diet score to symptomatic depression was apparent both before and after adjustments for age, gender, physical activity, work status, adolescent diet scale, and family conflict and largely followed a dose response curve. The results overall show that along with other circumstances and unhealthy diet leads to a more depressed lifestyle, and vice versa.

In this study, it was reported that both a lower devotion to the consumption of foods promoted by the Dietary Guidelines for Children and Adolescents in Australia, and greater consumption of unhealthy and processed foods, are associated with increased odds for self-reported symptomatic depression in adolescents. These relationships remained strong after adjustment for a wide range of potential factors.  These findings support previous research reporting associations between diet quality and mental health outcomes in adolescents, and between diet quality and depression in adults. They suggest that both low intakes of nutrient-dense foods, and/or high intakes of high-energy, nutrient-poor foods are related to an increase in the likelihood of adolescents being depressed.

            This study proves that when children scored low in the diet scales, the consequently scored low on the depression scales. The reverse happened to people who had healthy diets, living happier adolescent lives. If children begin to develop depression, it needs to be fixed so that it does not continue for the rest of their lives, in order to fix the issue at hand they need to be watched in what they eat and how often they eat, this way they do not consume such an unhealthy diet and develop habits of unhealthy eating. This will better prepare them for a healthier, happier lifestyle.

Jacka, Felice N., Peter J. Kremer, Eva R. Leslie, Michael Berk, George C. Patton, John W. Toumbourou, and Joanna W. Williams. "Associations Between Diet Quality and Depressed Mood in Adolescents: Results from the Australian Healthy Neighbourhoods Study." SAGE Journals (2010). Australian & New Zealand Journal of Psychiatry. SAGE Journals, 01 May 2010. Web. 03 Mar. 2012. <http://anp.sagepub.com/content/44/5/435.full.pdf html>.